In the world of Renaissance Renaissance, beauty and rebellion intertwine – delicate drapery and raw militarised textures speak a harmonious inseparable language. At the helm is Cynthia Merhej, a third-generation couturier whose designs are as much about political narrative as they are about emotion. Split between Beirut and Paris, her work is a living dialogue traversing heritage and modernity, between tenderness and harshness that imbue the human experience.
Merhej’s artistic lineage is both legacy and lifeblood. Her great-grandmother ran an atelier in Jaffa in the 1920s, and her mother reinterpreted that heritage through her own brand. Now, the creative heirloom rests in Cynthia Merhej’s hands. This inheritance is not just a symbol of continuity, it reflects a commitment to women-led craftsmanship as a form of cultural preservation and poised resistance. For Merhej, the act of creation is inextricable from the political realities surrounding it, with every garment existing as an act of survival and a gesture toward innovation, pushing the boundaries of what couture can represent. In an era where fashion may feel like a fleeting spectacle, Renaissance Renaissance stands as a testament to artistry rooted in astuteness and purpose.
There is a refusal to simplify shapes every collection. In her latest offering, romance meets utility: gossamer tulle and frayed ribbons flow into repurposed military jackets, blurring the lines between softness and structure. This interplay of visual codes: femininity, conflict, disobedience, feels both defiant and grounding. It's this poignantly captured balance that has won over us (and the wardrobes of icons like Chloë Sevigny and Caroline Polachek). Fresh from being named an LVMH Prize semi-finalist, Merhej’s vision continues to evolve. But at its heart remains a steadfast approach to clothing as cultural messengers of ancestry, of liberation, and of the magnificence that emerges when we embrace the contradictions of our times.
Hi Cynthia, it’s a pleasure to connect with you! Congratulations on this stunning collection. To start, what was the creative force behind it?
Thanks so much! The creative force in my work always starts from an internal place. Analysing how I am thinking and feeling at the moment and trying to express that creatively through a story that narrates the collection.
One of the most captivating aspects of your work is the seamless marriage of politics and romance – a duality that feels both dainty and tough, airy yet grounded. What draws you to this dichotomy?
I think this is very much because of my upbringing in Beirut which is a mix of both those things, as well as my own personal philosophy which is very non-binary. I am always interested in how so many different elements can come together to create a whole, especially when it’s two things that are considered opposite. I think what's the most interesting is actually the harmony between them when they come together rather than each thing on its own. I think that’s the beauty of humanity.
I love that, recognising that we hold the whole spectrum within us. On a deeper level, how does this symbiosis of perceived opposites reflect the ethos of Renaissance Renaissance and your overarching design philosophy?
I think I answered it already now but it’s really a personal philosophy and way of life – it's not just the creative side. So it’s really about the in-between and accepting the grey area as uncomfortable as it may be because nothing is ever black and white. We want to reduce the human experience into something digestible but it’s not, and that’s why it’s so incredible.
Your brand is described as "a celebration of woman-led couture." How does your generational legacy, as a third-generation couturier, shape and inform this vision?
It informs it greatly from many levels. First of all, being the daughter of the daughter of an immigrant, I think it’s an experience that really teaches you a lot of grit, resilience, to have a tough work ethic, and to be sustainable. Second of all, I think the second or third generation continues to build upon and improve what’s already there, and when you have over 3 generations to get to know a trade that’s when you really get to perfect it but also deconstruct it.
This attitude of perfecting and deconstructing makes Renaissance Renaissance feel like a dialogue between past and present as they entangle into innovation. With couture as a medium for this conversation, could you share an example of how this interplay between heritage and modernity comes to life in a specific design choice?
If you look at the inside of every piece, the construction, and the fabrics, this is very much informed by my heritage. Then when you look at the design, the styling, the playfulness and the experimentation of wearability, this comes from the present. Yes, times change but our bodies don’t. So the concepts of couture still hold today more than ever.
Building on this, how do you envision the evolution of couture? Do you believe we can or even should politicise couture fashion?
I think couture fashion is extremely politicised and always has been, as it’s only been accessible to elite segments of society and remains so today. Today, the disparity between classes has become more evident than ever, so I think couture is incredibly political but not in a great way. I think as time goes on it’s going to be a more and more difficult question to dodge, which is: what is the point of this for the greater good of humankind if only incredibly rich people can wear it? So while I think there is so much to learn from couture and the approach to how we make clothes in this process, it just has not been thought of in this way.
Lebanon seems to be your muse. How does being back in Beirut influence your state of mind and design process? What shifts for you creatively when designing there compared to cities like Paris or London?
I wouldn’t say Lebanon is my muse at all. It’s a place that has greatly influenced who I am and is part of my DNA. But it’s not where I turn to for inspiration. My muses are women and men. Our atelier is in Beirut, so when I am here I focus less on the research and analysis aspect and go way more into just making things, so it’s the second part of my process which is much more physical.
Your garments convey a sense of narrative and emotion. What do you hope the wearer feels when they step into your designs?
First and foremost, I want my wearer to feel comfortable. I want them to feel free and not be worried about something itching, pulling, rising up and so on. Then the second part I want them to feel is that when they hang it up in their wardrobe they feel a little sense of excitement and pride and awe.
Creating in today’s political climate comes with its share of challenges. Where do you draw the strength to keep pushing forward, both creatively and personally?
I’m really lucky to have an amazing support system around me in terms of my family that really help to keep pushing forward. And I think being grateful for being in my situation, no matter how difficult it is, because I am insanely lucky that I get to do what I love and it’s not a given for most.
On a final note, what new horizons are you eager to explore as you continue evolving the brand?
I’m excited to see things growing and to be able to expand the narrative in new ways and to introduce new members to the team.
